El reactable: interfaz tangible de mesa para interpretación musical multihilos.

Jordà, Sergi

Titulo:

El reactable: interfaz tangible de mesa para interpretación musical multihilos.
.

Sumario:

En años recientes se han visto una proliferación de mesas&nbsp;musicales, partiendo del hecho que esto no es solo una moda de&nbsp;mesas. Este artículo discute las razones por las cuales las interfaces&nbsp;de mesa son interfaces musicales promisorias; luego, se presenta&nbsp;el reactable, un instrumento musical basado en una interfaz de&nbsp;mesa que ejemplifica varios de estos logros potenciales.

Guardado en:

Revista:

Kepes

ISSN:

1794-7111

EISSN:

2462-8115

Autores:

Jordà, Sergi

Editor:

UNIVERSIDAD DE CALDAS

Volumen:

Año de publicación:

2009-01-01

Pagina inicial:

201

Pagina final:

223

Pais:

Palabras claves:

interpretación musical

diseño

técnicas de interacción

Licencia:

Revista Kepes - 2015

info:eu-repo/semantics/openAccess

http://purl.org/coar/access_right/c_abf2

id	oai:revistasojs.ucaldas.edu.co:article_429
record_format	ojs
spelling	El reactable: interfaz tangible de mesa para interpretación musical multihilos. The reactable: Tabletop tangible intrefaces for multihreaded musical performance. En años recientes se han visto una proliferación de mesas&nbsp;musicales, partiendo del hecho que esto no es solo una moda de&nbsp;mesas. Este artículo discute las razones por las cuales las interfaces&nbsp;de mesa son interfaces musicales promisorias; luego, se presenta&nbsp;el reactable, un instrumento musical basado en una interfaz de&nbsp;mesa que ejemplifica varios de estos logros potenciales. Abstract In recent years we have seen a proliferation of musical tables.&nbsp;Believing that this is not just the result of a tabletop trend,&nbsp;in this paper I first discuss the reasons that make tabletop&nbsp;interfaces promising musical interfaces. After that, I present the&nbsp;reactable, a musical instrument based on a tabletop interface that&nbsp;exemplifies several of these potential achievements. Jordà, Sergi reactable interfaces tangibles interfaces de mesa instrumento musical interpretación musical diseño técnicas de interacción reactable tangible interfaces tabletop interfaces musical instrument musical performance design interaction techniques 6 5 Núm. 5 , Año 2009 : Enero - Diciembre 2009 Artículo de revista Journal article 2009-01-01T00:00:00Z 2009-01-01T00:00:00Z 2009-01-01 application/pdf Universidad de Caldas Kepes 1794-7111 2462-8115 https://revistasojs.ucaldas.edu.co/index.php/kepes/article/view/429 https://revistasojs.ucaldas.edu.co/index.php/kepes/article/view/429 spa https://creativecommons.org/licenses/by-nc-sa/4.0/ Revista Kepes - 2015 201 223 Bencina, R. and Kaltenbrunner, M. (2005). “The Design and Evolution of Fiducials for the reacTIVision System”. Proc. 3rd International Conference on Generative Systems in the Electronic Ar5). Bencina, R., Kaltenbrunner, M. and Jordà, S. (2005). “Improved Topological Fiducial Tracking in the reacTIVision System”. Proc. IEEE International Workshop on Projector-Camera Syste5). Bischoff, J., Gold, R. and Horton, J. (1978). “Music for an interactive Network of Computers”. Computer Music Journal, 2(3), 24-29. Blaine, T. and Perkis, T. (2000). “Jam-O-Drum, A Study Interaction Design”. Proc. ACM DIS 2000 Conference. NY: ACM(2000). Buxton, W., Patel, S., Reevs, W., and Baecker, R. (1982). “Object and the Design of Timbral Resources”. Computer Music Journal, 982), 32-44. Buxton, W. (1997). “Artists and the art of the luthiers”. ACM SIGGRAPH Computer Graphics, 3997, 10-–11. Chadabe, J. (1975). “The Voltage-controlled synthesizer”. In John Applton (Eed.), The development and practice of electronic music. New Jersey: Prentl (1975). Chomsky, N. (1956). “Three models for the description of lnguage””. IRE Transactions on Information hor(1956), 113-124. Cutler, M., Robair, G. and Bean. (2000). “Outer Limits”. Electronic Musician Magazine, (2000, 49-72. Fitts, P. M. (1951). “Engineering Psychology and Equipment Design”. In S. S. Stevens (Ed.), Handbook of Experimental Psychology (pp. 17-1340). i1287-1340. Fitts, P. M. and Posner, M. I. (1967). Human Performance. Belmont, CAs/ Cole (1967). Gaver, W.W., Bowers, J., Boucher, A., Gellerson, H., Pennington, S., Schmidt, A., Steed, A., Villars, N. and Walker, B. (2004). “The drift table: designing for ludic engagement”. Proc CHI ‘04 extended abstracts on Human factors in computing syste Press(2004), 885-–900. Hornecker, E. and Buur, J. (2006). “Getting a Grip on Tangible Interaction: A Framework on Physical Space and Social Interaction”. PI 2006 (2006), 437-446. Ishii, H and Ullmer, B. (1997). “Tangible Bits: Towards Seamless Interfaces between People, Bitsd Atoms”. InCHI 97 (1997), 22-27. Jordà, S. (1999). “Faust Music On Line (FMOL): An approach to Real-time Collective Composition on the Internet”. Leonardo Musl, 9: (1999). 5-12. ____. (2002). “Improvising with Computers: A personal Survey (1989-2001)” Journal of New Music R1(1): (2002), 1-10. _____. (2002). “FMOL: Toward User-Friendly, Sophisticated New Musical Instruments”. Computer Musi, 26(3): (2002), 23-39. _______. (2003) Sonigraphical Instruments: From FMOL to the reactable. Proc. International Conference on New Interfaces for Musical Expression, 70-76. Jordà, S., Kaltenbrunner, M., Geiger, G. and Bencina, R. The reactable. Proc.International Computer Music Conference (2005) Jordà, S. (2005). Digital Lutherie: Crafting musical computers for new musics performance and improvisatin. PhD. Dissertation., Universitat Pabra, Barcelona. Kaltenbrunner, M., Geiger, G. and Jordà, S. (2004). “Dynamic Patches for Live Musical Performance”. Proc. International Conference on New Interfaces for Musiression (NIME-04), (2004) 19-22. Kaltenbrunner, M. http://ww.iua.upf.emtg/reactable/ ?related [.Referenced October 20, 2006]. Mazalek, A. (2005). Media Tables: An extensible method for developing multi-user media interaction platforms for sharedspaces. PhD. Dissertation., Massachusetitute of Technology (2005). Moog, R. (2004). Keynote speech at the Conference on New Interor Musical Expression (2004). Patten, J., Ishii, H., Hnes, J., Pangaro, G. (2001)., “Sensetable: A Wireless Object Tracking Platform for Tangible User Ies”. Proc. ACM CHI ‘01 (2001), 253-260. Patten, J., Reht, B. and Ishii, H. (2002)., “Audiopad: A Tag-based Interface for Musical Performance”. Proc. Conference on New Intfor Musical Expression (2002), 24-26. _______. (2006). “Interaction Techniques for Musical Performance with Tatop Tangible Interfaces”. In ACE 2006 Advances in Computer EntertaHollywood, California, (2006). Pressing, J. (1984). “Cognitive rocesses in Improvisation”. Iin Ray Crozier and Anthony Chapman (Eds.), Cognitive Processes in the Peczier and Anthony Chapmanand, Amsterdam (1984), 345-363. Pressing, J. (1990). “Cybernetic Issues in Interactive Performance Systems”. Music Journal, 14(1): (1990), 12-25 Puckette, M. (2002). “Max at 17er Music Journal, 26(4): (2002), 31-43. ReacTIVision. httg.upf.edu/reactable/?software [. Referenced October 20, 2006] Shen, C., Lesh, N. and Vernier, F. (2003). “Personal Digital Historian: Story Sharing Around th In Interactions, 0(2): (2003), 15-22. SmallFish.: http/hosting. zkm.de/wmuench/small_fish, [Referenced October 20, 2006]. Turner, T. (2003). The Resonance of the Cubicle: Laptop Performance in Post-digital Musicporary Music Review, 22(4): (2003). 81-92. Ullmer B. and Ishii, H. (2001). “Emerging Frameworks for Tangible User Interfaces”. In John M. Carroll (Ed.), Human-Computer Interactio (pp. 579-601). rroll, Addison-Wesley (2001), 579-601. Ullmer, B. (2002). Tangible Interfaces for Manipulating Aggregates of Digtal Information. Ph.D. Dissertation., usetts Institute of Technology (2002). Vertegaal, R. and Eaglestone, B. (1996). “Comparison of input devices in an ISEE direct timbre manipulation tasacting with Computers, 8(1): (1996), 13-30. Wanderley, M. M. (2001). Performer-Instrument Interaction: Applications toGestural Control of Music. Ph.D thesis., Uni Pierre et Marie Curie - Paris VI (2001). Wilson, A.D. (2005). “PlayAnywhere: a compact interactive tbletop projectionvision system”. Proc. 18th annual ACM symposium on User inter software and ogy, ew York, NY, USA, ACM Press (2005), 83-–92. https://revistasojs.ucaldas.edu.co/index.php/kepes/article/download/429/354 info:eu-repo/semantics/article http://purl.org/coar/resource_type/c_6501 info:eu-repo/semantics/publishedVersion http://purl.org/coar/version/c_970fb48d4fbd8a85 info:eu-repo/semantics/openAccess http://purl.org/coar/access_right/c_abf2 Text Publication
institution	UNIVERSIDAD DE CALDAS
thumbnail	https://nuevo.metarevistas.org/UNIVERSIDADDECALDAS/logo.png
country_str	Colombia
collection	Kepes
title	El reactable: interfaz tangible de mesa para interpretación musical multihilos.
spellingShingle	El reactable: interfaz tangible de mesa para interpretación musical multihilos. Jordà, Sergi reactable interfaces tangibles interfaces de mesa instrumento musical interpretación musical diseño técnicas de interacción reactable tangible interfaces tabletop interfaces musical instrument musical performance design interaction techniques
title_short	El reactable: interfaz tangible de mesa para interpretación musical multihilos.
title_full	El reactable: interfaz tangible de mesa para interpretación musical multihilos.
title_fullStr	El reactable: interfaz tangible de mesa para interpretación musical multihilos.
title_full_unstemmed	El reactable: interfaz tangible de mesa para interpretación musical multihilos.
title_sort	el reactable: interfaz tangible de mesa para interpretación musical multihilos.
title_eng	The reactable: Tabletop tangible intrefaces for multihreaded musical performance.
description	En años recientes se han visto una proliferación de mesas&nbsp;musicales, partiendo del hecho que esto no es solo una moda de&nbsp;mesas. Este artículo discute las razones por las cuales las interfaces&nbsp;de mesa son interfaces musicales promisorias; luego, se presenta&nbsp;el reactable, un instrumento musical basado en una interfaz de&nbsp;mesa que ejemplifica varios de estos logros potenciales.
description_eng	Abstract In recent years we have seen a proliferation of musical tables.&nbsp;Believing that this is not just the result of a tabletop trend,&nbsp;in this paper I first discuss the reasons that make tabletop&nbsp;interfaces promising musical interfaces. After that, I present the&nbsp;reactable, a musical instrument based on a tabletop interface that&nbsp;exemplifies several of these potential achievements.
author	Jordà, Sergi
author_facet	Jordà, Sergi
topicspa_str_mv	reactable interfaces tangibles interfaces de mesa instrumento musical interpretación musical diseño técnicas de interacción
topic	reactable interfaces tangibles interfaces de mesa instrumento musical interpretación musical diseño técnicas de interacción reactable tangible interfaces tabletop interfaces musical instrument musical performance design interaction techniques
topic_facet	reactable interfaces tangibles interfaces de mesa instrumento musical interpretación musical diseño técnicas de interacción reactable tangible interfaces tabletop interfaces musical instrument musical performance design interaction techniques
citationvolume	6
citationissue	5
citationedition	Núm. 5 , Año 2009 : Enero - Diciembre 2009
publisher	Universidad de Caldas
ispartofjournal	Kepes
source	https://revistasojs.ucaldas.edu.co/index.php/kepes/article/view/429
language	spa
format	Article
rights	https://creativecommons.org/licenses/by-nc-sa/4.0/ Revista Kepes - 2015 info:eu-repo/semantics/openAccess http://purl.org/coar/access_right/c_abf2
references	Bencina, R. and Kaltenbrunner, M. (2005). “The Design and Evolution of Fiducials for the reacTIVision System”. Proc. 3rd International Conference on Generative Systems in the Electronic Ar5). Bencina, R., Kaltenbrunner, M. and Jordà, S. (2005). “Improved Topological Fiducial Tracking in the reacTIVision System”. Proc. IEEE International Workshop on Projector-Camera Syste5). Bischoff, J., Gold, R. and Horton, J. (1978). “Music for an interactive Network of Computers”. Computer Music Journal, 2(3), 24-29. Blaine, T. and Perkis, T. (2000). “Jam-O-Drum, A Study Interaction Design”. Proc. ACM DIS 2000 Conference. NY: ACM(2000). Buxton, W., Patel, S., Reevs, W., and Baecker, R. (1982). “Object and the Design of Timbral Resources”. Computer Music Journal, 982), 32-44. Buxton, W. (1997). “Artists and the art of the luthiers”. ACM SIGGRAPH Computer Graphics, 3997, 10-–11. Chadabe, J. (1975). “The Voltage-controlled synthesizer”. In John Applton (Eed.), The development and practice of electronic music. New Jersey: Prentl (1975). Chomsky, N. (1956). “Three models for the description of lnguage””. IRE Transactions on Information hor(1956), 113-124. Cutler, M., Robair, G. and Bean. (2000). “Outer Limits”. Electronic Musician Magazine, (2000, 49-72. Fitts, P. M. (1951). “Engineering Psychology and Equipment Design”. In S. S. Stevens (Ed.), Handbook of Experimental Psychology (pp. 17-1340). i1287-1340. Fitts, P. M. and Posner, M. I. (1967). Human Performance. Belmont, CAs/ Cole (1967). Gaver, W.W., Bowers, J., Boucher, A., Gellerson, H., Pennington, S., Schmidt, A., Steed, A., Villars, N. and Walker, B. (2004). “The drift table: designing for ludic engagement”. Proc CHI ‘04 extended abstracts on Human factors in computing syste Press(2004), 885-–900. Hornecker, E. and Buur, J. (2006). “Getting a Grip on Tangible Interaction: A Framework on Physical Space and Social Interaction”. PI 2006 (2006), 437-446. Ishii, H and Ullmer, B. (1997). “Tangible Bits: Towards Seamless Interfaces between People, Bitsd Atoms”. InCHI 97 (1997), 22-27. Jordà, S. (1999). “Faust Music On Line (FMOL): An approach to Real-time Collective Composition on the Internet”. Leonardo Musl, 9: (1999). 5-12. ____. (2002). “Improvising with Computers: A personal Survey (1989-2001)” Journal of New Music R1(1): (2002), 1-10. _____. (2002). “FMOL: Toward User-Friendly, Sophisticated New Musical Instruments”. Computer Musi, 26(3): (2002), 23-39. _______. (2003) Sonigraphical Instruments: From FMOL to the reactable. Proc. International Conference on New Interfaces for Musical Expression, 70-76. Jordà, S., Kaltenbrunner, M., Geiger, G. and Bencina, R. The reactable. Proc.International Computer Music Conference (2005) Jordà, S. (2005). Digital Lutherie: Crafting musical computers for new musics performance and improvisatin. PhD. Dissertation., Universitat Pabra, Barcelona. Kaltenbrunner, M., Geiger, G. and Jordà, S. (2004). “Dynamic Patches for Live Musical Performance”. Proc. International Conference on New Interfaces for Musiression (NIME-04), (2004) 19-22. Kaltenbrunner, M. http://ww.iua.upf.emtg/reactable/ ?related [.Referenced October 20, 2006]. Mazalek, A. (2005). Media Tables: An extensible method for developing multi-user media interaction platforms for sharedspaces. PhD. Dissertation., Massachusetitute of Technology (2005). Moog, R. (2004). Keynote speech at the Conference on New Interor Musical Expression (2004). Patten, J., Ishii, H., Hnes, J., Pangaro, G. (2001)., “Sensetable: A Wireless Object Tracking Platform for Tangible User Ies”. Proc. ACM CHI ‘01 (2001), 253-260. Patten, J., Reht, B. and Ishii, H. (2002)., “Audiopad: A Tag-based Interface for Musical Performance”. Proc. Conference on New Intfor Musical Expression (2002), 24-26. _______. (2006). “Interaction Techniques for Musical Performance with Tatop Tangible Interfaces”. In ACE 2006 Advances in Computer EntertaHollywood, California, (2006). Pressing, J. (1984). “Cognitive rocesses in Improvisation”. Iin Ray Crozier and Anthony Chapman (Eds.), Cognitive Processes in the Peczier and Anthony Chapmanand, Amsterdam (1984), 345-363. Pressing, J. (1990). “Cybernetic Issues in Interactive Performance Systems”. Music Journal, 14(1): (1990), 12-25 Puckette, M. (2002). “Max at 17er Music Journal, 26(4): (2002), 31-43. ReacTIVision. httg.upf.edu/reactable/?software [. Referenced October 20, 2006] Shen, C., Lesh, N. and Vernier, F. (2003). “Personal Digital Historian: Story Sharing Around th In Interactions, 0(2): (2003), 15-22. SmallFish.: http/hosting. zkm.de/wmuench/small_fish, [Referenced October 20, 2006]. Turner, T. (2003). The Resonance of the Cubicle: Laptop Performance in Post-digital Musicporary Music Review, 22(4): (2003). 81-92. Ullmer B. and Ishii, H. (2001). “Emerging Frameworks for Tangible User Interfaces”. In John M. Carroll (Ed.), Human-Computer Interactio (pp. 579-601). rroll, Addison-Wesley (2001), 579-601. Ullmer, B. (2002). Tangible Interfaces for Manipulating Aggregates of Digtal Information. Ph.D. Dissertation., usetts Institute of Technology (2002). Vertegaal, R. and Eaglestone, B. (1996). “Comparison of input devices in an ISEE direct timbre manipulation tasacting with Computers, 8(1): (1996), 13-30. Wanderley, M. M. (2001). Performer-Instrument Interaction: Applications toGestural Control of Music. Ph.D thesis., Uni Pierre et Marie Curie - Paris VI (2001). Wilson, A.D. (2005). “PlayAnywhere: a compact interactive tbletop projectionvision system”. Proc. 18th annual ACM symposium on User inter software and ogy, ew York, NY, USA, ACM Press (2005), 83-–92.
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publishDate	2009-01-01
date_accessioned	2009-01-01T00:00:00Z
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url_doi	https://revistasojs.ucaldas.edu.co/index.php/kepes/article/view/429
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eissn	2462-8115
citationstartpage	201
citationendpage	223
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